ABOUT THIS ALBUM

Album Notes

JM-2066-2CHICO FREEMAN & The Fritz Pauer Trio „Essence Of Silence ”Two CDs full of good atmospheres by the great soprano and tenor sax of Chico Freeman with the excellent austrian Trio of Fritz Pauer (p) with Hans Strasser (b) and Joris Dudli (d). Mainly new compositions by Freeman and Pauer, full of easy grooving and full of nice harmonies.

I was asked to play at the Vienna Jazz Festival as a special guestwith whom I was told were some of the best musicians that Austriahas produced. It was the Fritz Pauer Trio. I did not know FritzPauer or his trio at that time so I asked my agent Ilse Weinmann,who had arranged the engagement, who exactly Fritz Pauer was.She told me he was one of the best pianist/musicians she knew andshe knew him from his work with the great saxophonist JohnnyGriffin (a Chicago native just like me), who was also a clientof hers. Needless to say I was pleased and excited to meet Fritzbut not as much as when it actually happened on the first day ofrehearsal at Jazzland Jazz Club in Vienna. Not only was Fritz anincredible musician, he was also one of the nicest and warmestpeople I’ve ever had the opportunity to meet. We became instantfriends. In addition his trio, which consisted of Johannes (Hans)Strasser (bass) and Joris Dudli (drums), were also incredibly talentedmusicians and wonderful human beings as well. We bondedinstantly and thus began our journey to the recording of this CD.The chemistry was instantaneous and undeniable. We recordedfor the radio the first night and I knew I wanted to work more withthese guys and to document our future journeys together. This is thefirst of what I hope will be many more of those documentations.Chico Freeman (saxophone)

A sound not born yet. The imagination of sound can be expressedin the right place, at the right time. The gods are asking to let it beheard from your own imagination mixed with sounds for you andyour brothers and sisters. Our ancestors thankfully remembered, witheach note played on celestial instruments.That music which we call jazz should be named this way because itcomes from deep within the heart of different nations. The spiritswanted it like this: The essence of silence.Sometime ago our trio the Fritz Pauer Trio and our guest for theVienna Jazz Festival, Chico Freeman, met at Jazzland in Vienna. AxelMelhardt, the club owner, invited us to play for one week. After successfulperformances, we were invited back the following season, andsuccessive seasons thereafter. During that time Austrian radio ORFcame to the club and recorded a whole night’s performance.Our chemistry was just right. We would go through our repertoire,rehearse and create exciting, fresh and new music every night. Wewere very fortunate to be able to play with Chico, who brought alongall his experience of rhythm, blues and free jazz, along with some ofthe greatest composers and piano players of today:McCoy Tyner, George Cables, Don Pullen and many others.It just so happened that we also got to play and record originalcompositions written by George Cables himself, as well as those byChico. We didn’t just play the music; we dug deep inside the soul of

the music for which Chico brought the original lead sheets.After listening to the radio recordings, we decided to goon tour with a partly new repertoire and added anotherweek of recording at a studio in Vienna. Being on theroad together added another element to the band:comradeship. Many thanks to our drummer,Joris Dudli, who contributed immensely bybeing such an excellent percussionist/drummer and driving the band withgreat energy and sensitivity.Knowing of the upcoming project,I concentrated on the band’s tuneswith a brand new Fazioli grandpiano in my new music room:the first floor of our newhouse!Fritz Pauer (piano)

Having had the privilege of playingbass with the Fritz Pauer Trio andperforming their music over a longperiod of time has offered me veryexciting and inspiring experiences.Among these is having had the opportunityof accompanying someof the most creative and renownedjazz artists worldwide with the Trio,during their guest performances inVienna.Before we got together at Jazzland,I knew Chico and his music fromthe recording Spirit Sensitive,dating back to the 70s. I used to listen to ita lot back then becauseI wanted to check out bass player Cecil McBee too, who wasalso on the record.When we performed with Chico for the first time at Jazzland,I was immediately fascinated by his highly energetic andexpressive harmony. It felt really unique and personal to meand a lot stronger than what I thought I knew from his recordings.The music we played sounded very inventive, freshand, at the same time, non clichè - it seemed to be flowingvery naturally. Right away, the trio with guest soloist turnedinto a real quartet.Now, some years later, I can say that playing bass with thispowerful and musically adventurous group of dedicated jazzimprovisers and dealing with the colourful variety of musicaltextures, is just absolutely inspiring and thrilling. I’m veryglad and I feel privileged again to have recorded all thoseunique tunes of Chico, Fritz and George Cables.Johannes Strasser (bass)

A word about the compositionsEnchance (7:41)– The song is in 8/8 with the approach of a 6/8feel. It begins with an intro of piano followed by piano, sax andbass, then a bass vamp interlude; sax enters on the main theme.The song goes through some time changes and interesting harmonicvariations. The solos are on two different formats. The sax soloson the form of the melody “A B (bridge) A”, the piano solos on adifferent form with a different harmonic structure but returns to theA section signaling the end of the piano solo; the sax enters at thebridge and plays the melody thru to the last A section, repeating thetheme of the intro at the end with full rhythm section.– Chico FreemanHelen’s Song (5:50) – Helen’s Song is one of my favorite GeorgeCables compositions, this added to the fact that I am privileged tocall Helen herself a friend of mine, makes the opportunity to recordit even more special. I’ve played it with George on many occasionsas well as in many of my own projects. This version finds Fritzplaying it with great sensitivity, passion and beauty. This is one ofmy favorite renditions of what I believe is a classic, just like it’snamesake.– Chico FreemanThe Trespasser (9:10) – we see many in our lives, some arewelcome, and some are not. You decide. – Chico FreemanThe Essence of Silence (5:38)– I believe that when we are aloneand in complete silence is when music makes its most direct andpurest journey to our being. In silence we hear music, hence, theessence of silence.– Chico Freeman.Shen Shun Song (7:08) – a song with the title borrowed from theChinese martial art tai chi chuan. Shen meaning spirit and mentalliveliness; Shun meaning to go along with, to follow and free-flowingand relaxed a song with three main attributes for a successfulperformance. With this tune I would like to honour McCoy Tynerand the pioneers of Modal Jazz – Fritz PauerWill I See You in the Morning? (5:24) – This question has beenasked in so many different ways but it still remains the samequestion. in the sentiment:Will I see you in the morning?I might leave without much warningTry and understand the reason if I goI know you believewhat you want me to knowYou can’t stand to see me cryingjust because i know you’re lyingwhen you tell me everything will be OKHow come I can seewith my eyes closed tightthat we are over?Don’t say a wordunless you meaneverything you sayWhat do u think I’m gonna do?are you afraid that I’ll see througheverything I meant to you?So if I don’t see you in the morningand I leave without much warningyou will understand the reasonand you’ll know. . . but you must believethat I did not want to go.chico freeman/jan pulsford feb 2007

Salsa con Punta (06:40) – written in two parts; the first part with aLatin flavour, the second part goes into a straight 4/4 groove (Chicoadded a cowbell for the overdub.) – Fritz Pauer

Epikur Intro (1:25) & Main (05:38)– compositional contributionEpikur, named after the ancient Greek philosopher (Epicurus inEnglish) with its Phrygian mode, consists of two parts:In part one I introduce the main theme con arco quasi rubato withsome collective sound fields beneath; in part two the full tune in amedium up-tempo with solos by Chico, Fritz and myself is heard.The chord changes run by fairly quickly and that’s why the tune, withit’s inherent restlessness, was originally called Busy Morning. Oneday I woke up with the melody in my head and had to write it downimmediately. – Johannes Strasser

To Hear a Teardrop in the Rain (5:43) – this song was written fora very special person who left us some time ago. She willalways be remembered. – Chico Freeman

Dark Blue (6:59)– a blues, first heard on mycd Tales of Ellington, it was written in honorof Duke Ellington. – Chico FreemanDrum Chant (8:20) – another modal tuneespecially written for the artistry of our outstandingpercussionist, Joris Dudli.– Fritz Pauer

Angel Eyes (11:30) – this arrangement involvesan ostinato bass line while the originalchanges and melody are played over this line.This opens up two worlds at the same time, a kindof ballad and groove in simultaneous motion.– Chico Freeman